Loved this to pieces. It bounces around the same playground of worlds inside of worlds that Pete Docter has previously explored, and it'll no doubt get knocked around for structural similarities to INSIDE OUT, but I'd make the case that it could easily be viewed as a sequel or at the very least, a natural extension from it rather than a kind of copycat. If that film is about the reconciling of sadness and the vital role it plays in…
A fascinating and thoroughly engrossing portrait - and, in very typical Fincher fashion, a cynical take that's far less about the wonder and magic of moviemaking and far more about the manipulating power of propaganda wielded by those sitting in la la land's ivory towers. Genuinely surprised at just how inside baseball it is - there's a moment early on where a big to-do is made over introducing Ben Hecht in a writer's room at Paramount which I can only…
Wildly ambitious and admirable, but ultimately frustrating and exhausting. This is very much the director of THE DARK KNIGHT and INTERSTELLAR doing his own version of PRIMER. Take that however you'd like.
Like INCEPTION, it's a film of mechanics and logistics, and like MEMENTO, there's a vague structural resemblance to an ouroboros, but it lacks the energy and mystery of either of them -- especially the way that INCEPTION piecemeals out the various machinations of dreamsharing without losing the forward…
Easily my favorite of Tarantino's since INGLOURIOUS BASTERDS. One of the friends I saw it with made the comment that it was (with the obvious exception of the last twenty minutes) surprisingly light and pleasant, and I completely agree -- in a strange way, it's perhaps his softest film, and a complete joy at that. It's terrifically funny, playful, and energetic - loved every second of it.
Shoutout to the Angelika in Dallas for projecting this on 35mm. Looked gorgeous (plus, no horrible twenty-minute roll of trailers)